Mentioned in:

Pimentel renders passion through crisp, cutting lines. In “The Kiss,” “I’m mad for gravity though / I’m bound, diagonally, to / you.” And: “Leave me // to wither while moss weeps / in the corners, our halo liquid / as yolk, waving from our bodies’ heat / our divinity melting.” Later, in “Late September, When the Heat Releases”: “A sage brush flowers, / and all night long, your skin rippled, softening // through gaped window, the cathedral long / with bells.” For Want of Water is a hot book: life in the desert, desire laid bare. “We are learning how to lie down quietly / each afternoon, to let // whimpers fall over us, through / the air, and through // our skin, to forget our wet mouths, their hungry gestures.” A great book doesn’t need two narratives, but there’s a parallel current of pain in this book. “The wives in Juárez are used / to slumping their bellies to their knees.” This grief is thick: “The violins in our home are emptied / of sound, strings stilled, missing / fingers.” Love and struggle, lust and pain, all here under the same poetic roof.

Come for Smith’s viral title poem, but stay for her range as she builds a notable collection, one suffused with grace, and—dare I say it—hope. Poems like “First Fall” make her narrators feel like careful guides, each line a gesture, a lesson: “The first time you see / something die, you won’t know it might / come back. I’m desperate for you / to love the world because I brought you here.” This book is full of wonders. Of sky: “As you move through it, you make a tunnel / in the precise size and shape of your body.” Of the past: “The chairs are empty. The children / are unwrapping golden butterscotches / in the cool, shuttered houses.” Of the wisdom that comes from grief: “Where do you carry your dead? . . . what cut shape is made / whole by opening? I mean besides the heart.” Good Bones breathes mystical, pastoral wind, while also hitting notes of longing. The world has to be falling apart—it has to be a place where the narrator might ask “Where is your voice now…What has the land done to your tongue?”—in order for us and our words to lift it back up.

“The calm refinement of civility, / A feeling that the worst of things happen beyond the bounds of us, / Happen, somehow, beyond us, without us, out in a world as wide / As it is unimaginable.” Civil Twilight is a surreal trip of a book. Schultz describes our world, but does so in a murky, tired tone—as if we have stumbled out of a daze to finally see the light. I felt somewhere in the range of Terry Gilliam’s Brazil in these pages, my senses both bombarded and soothed: “We walked, the sky above us fig-flesh / And flesh and baton-black at the edges, and on the bus benches and fences // Around us the Graffiti Eradication Task Force’s patches of color, / Earth toned and muted, a sort of bland abstract expressionism.” The State has exploded into some nearly apocalyptic organism, and Schultz is like some haggard oracle—spent and disgusted with violence and obfuscation, turning to language—there to document the fall: “called here to gather / In memory of what by the end of this will have already been forgotten.”

Poetry is most often defended by poets, so this anthology is a welcome addition to the chorus from outside voices. From Neko Case to Christopher Hitchens, Roger Ebert to Roxane Gay, we hear spirited confessions of those converted to poetry. Ebert recalls his Catholic school assignment to memorize a poem. He never forgot William Cullen Bryant’s “To a Waterfowl.” Lieutenant General William James Lennox, Jr., the fifty-sixth superintendent of the United States Military Academy at West Point, sees poetry as an essential tool for communication “because it describes reality with force and concision” and “confronts cadets with new ideas that challenge their worldview.” Jia Tolentino is not a poet, and never talks about the form with others: “that, in the end, is what made me free” to observe, experience, and realize “I basically know nothing, and that acknowledging this position is a beginning and never an end.” Poetry is malleable and moving; a form that will never tire of importance. Who Reads Poetry is an invaluable testament to a simple truth: we all read poetry, in our ways. As Aleksandar Hemon says, poetry helps us understand “what it meant to live.”

Advice from the Lights is buoyed by two themes: the imagination of youth, and the search for body: its shape, outline, expectations. “If I can’t be weightless,” Burt writes, “or glide among twigs, or sate / myself on dew, then let / my verses live that way.” We begin in 1979, when “I could have trusted my instincts if I had any,” when “I had become convinced / that character was fate.” A year when “My bedtime and I were both eight.” Soon Stephanie arrives in the collection, a second self whose first poem ends in a question, whose other appearances infuse poems with the anxiety of identity: “Because I can’t ever appear / as I would like to appear, / I once tried to make it so you couldn’t see me at all.” Yet there is young hope, as in “Fifth Grade Time Capsule”: “I dream of the day / when I am decoded and vaunted.” Burt’s year-by-year cataloging gives Advice from the Lights an immediacy within its nostalgia, a compelling ars poetica of self.

“I’d say write everything & lean into what most terrifies you:” Sam Sax’s advice for writers applies to Madness, a book saturated with misdiagnoses, anxieties, fears, and the paradoxes of bodily desire. In “#hypochondria,” the narrator writes “if i lived two hundred years ago // i’d have been bled nightly, / i’d have slept at the foot of a holy man’s bed / i’d have lapped up his snake waters.” Sax’s book feels like a funhouse of debunked treatments, a suffering mind’s headlong dive into nightmare. In “Willowbrook,” the narrator’s father worked at an asylum: “something funny happens / when a person becomes a patient / the name changes & everything / that follows is bandages.” This book winds its way in and out of these institutions, their corridors and their darkest rooms. Madness wonders: “what does it mean to be descendant / of something monstrous? / to still love the monster?” Can we ever escape unscathed?

Oliver’s religious sense has been considered before, but this volume is quite clearly curated and presented—from the title on to the selections—as a work of (Gerard Manley) Hopkinsesque devotion. It might seem like a small gesture of design, but as a hardcover, Oliver’s play with white space feels almost spiritual. It is affirming that a poet so widely read as Oliver feels new with this work. The selections are ordered from most recent, Felicity, on to No Voyage and Other Poems from the early 1960s. Among those earlier poems, there is the gentle yet ultimately firm “The Swimming Lesson,” where “the endless waves / Reaching around my life” force the speaker to swim. Or even better, to learn “How to put off, one by one, / Dreams and pity, love and grace,— / How to survive in any place.” My favorite is “Picking Blueberries, Austerlitz, New York, 1957”: “Once, in summer, / in the blueberries, / I fell asleep, and woke / when a deer stumbled against me.” She takes us, almost effortlessly, somewhere else. Oliver’s selected is the type of book to leave out on a table and hope somebody—perhaps those not yet converted to verse—will page through and find, inevitably, a voice they’ve been looking to find.

Minicucci offers readers a gentle slant on the observed world. In “Wedding,” the “tabernacle / door slides closed like some gilded / impossible hotel.” I linger on that image and drift to the opposing page, where, in “Paul’s Letter to the Corinthians,” “On resurrection: to the dead, the living seem so pointlessly busy.” Like his fine debut chapbook, Reliquary, Minicucci’s new book is suffused with religious nostalgia, a wonder welded to the culture of a Catholic sense, but distant from firm belief. The tension gives structure to the book. We read epistles. We hear of Aquinas. We see a poet clothe description with ancient cadence: “Aperture and embouchure of the living word. Speak, friends, if your mouths have tongues.” This lifts the language; gives Small Gods the song of myth. Tucked between the book’s mystical bookends are mathematical and astronomical works; it’s as if the poet is trying to find worthy forms, or trying to make his voice worthy of forms. There are no easy answers here, but the scars are reminders of struggle: “Yes, blessed are those who believe without seeing. But blessed more are those who must accept the silvered hangnail of this proof when pressed deep within the cavities of their own flesh.” Words can’t do the ineffable justice. Maybe “salvation is a missive I read backwards.”